CD Review: Elida Almeida's 'Ora Doci Ora Marcos'

Elida Almeida
Ora Doci Ora Marcos
Lusafrica

Elida Almeida's beautiful vocals electrify the music on Ora Doci Ora Marcos. The Cape Verde-native brings us thirteen songs of inner joy for a truly enjoyable journey into the traditional, yet contemporary, music from the islands. There are plenty of acoustic guitars, piano, percussion, bass, and ethnic grooves  that combine Portuguese folk with Afro-Latin rhythms and melodies. The soulful songs are very entertaining and diverse, but always memorable--in a good way. Elida's vocals are timeless and very moving. The vocals are especially outstanding on "Nhu Santiago," "Di Mi Ku Bo," "Mar Sagrado," "Djam Nkrel Pa Mi," and others. The upbeat music of "Txiku Branku" showcases Elida's creative vocals and dance-worthy, Cape Verde-beat elements. Fans of neo-classical, folk, Latin, Portuguese, Cape Verde, Afro-Latin, and island music will love Elida's latest effort. ~ Matthew Forss

CD Review: Cesaria Evora's 'Greatest Hits'

Cesaria Evora
Greatest Hits
Lusafrica

After passing away in 2011, Cesaria Evora's music continues to be important for the people of Cape Verde, but everyone should be aware of her music. Thankfully, the folks at Lusafrica understand the importance with the release of Greatest Hits. There are twenty hits here, including one of the best songs ever to come out of Cape Verde: "Sangue De Beirona." The percussion and vocal medleys are tantalizing beyond belief. The emotive drums, strings, guitars, and wind instruments are very intriguing and representative of the country's social and cultural spirit. This is the latest review of her work since a Best Of release in 1998. Anyone familiar with Portuguese music, Cape Verdean grooves, African music, and world jazz with a Latin tinge will love Cesaria Evora's Greatest Hits. ~ Matthew Forss

CD Review: Boubacar Traore's 'Mbalimaou'

Boubacar Traore
Mbalimaou
Lusafrica

Mali's iconic vocalist, guitarist, and songwriter, Boubacar Traore, brings us a fresh set of tracks steeped in Saharan charisma and African history on his latest release, Mbalimaou. The sauntering. bluesy tune, "Hona," resembles a little late-Ali Farka Toure influence with edgy harmonica, talented guitar fingerings, and light percussion. The album is rich with n'goni, sokou, kora, shaker, calabash, and karignan sounds. The music is rather acoustic and spacious with subtle intonations and jazzy grooves led by Boubacar's husky voicings. Malian blues are alive and well on the album. Comparisons to the late-Ali Farka Toure are noteworthy and necessary. Boubacar's guitar playing is more acoustic and experimental overall, but the bluesy and jazzy instrumentation adds to the contemplative mood of the music without compromising quality. The twelve-track release is a perfect introduction to Mali's blues, as well as a recommended album for more seasoned Saharan music fans. ~ Matthew Forss

CD Review: Various Artists' 'Afrolove Kizomba Special' [2 CD]

Various Artists
Afrolove Kizomba Special [2 CD]
Lusafrica

The folks at Lusafrica understand Lusophone music inside and out. This new release, Afrolove Kizomba Special, is all the evidence anyone needs to make up their mind about the best African music release of the year. The double-disc features urban hip hop, romantic ballads, folk sounds, dance music, and Portuguese-influenced compositions with musical roots running from the Cape Verdes through West Africa and ending in the south-central regions of Angola and Congo. Some of the most catchy music is brought to us by Sekouba Bambino, Fode Baro, Meiway, Cubanito, and Oliver N'Goma. Even Cesaria Evora is featured, but it is a remix of "Regresso." At any rate, anyone interested in contemporary music from Africa would find this a must-have album without a doubt. The music is akin to Afro-zouk, Congolese rumba, and the loose-fitting term of kizomba, which encompasses all Lusophone dance musical traditions. It is nice to know this does not contain very much rap, if any, which would interrupt the accessibility of this recording to some age groups. Thankfully, it is highly-recommended to anyone with a fascination in contemporary African music. ~ Matthew Forss

CD Review: Various Artists' 'Ola Cabo Verde'

Various Artists
Ola Cabo Verde
Lusafrica

Lusafrica does it again with another stellar release. This one covers eighteen different artists from Cape Verde. There are nearly seventy-eight minutes of great, danceable music from some of the top artists in the country, including Neuza, Lura, Ze Luis, Tcheka, Boy Ge Mendes, Teofilo Chantre, among others. There is even a composition featuring the late-Cesaria Evora, alongside Lura on "Moda Bo." The music is highly-energetic and free-spirited. The combination of vocals, strings, guitars, percussion, and other instruments makes the album shimmer with musical satisfaction. The Afro-Caribbean sounds are somewhat Portuguese-inspired, along with other influences that are regional. The island country is known for morna music and other types. This album covers some of these styles and contemporary elements that are easy to assimilate and enjoy. Anyone with a passion for Cape Verde music will find Lusafrica's latest offering a 'must-have' without any reservations. ~ Matthew Forss

CD Review: Sia Tolno's 'African Woman'

Sia Tolno
African Woman
Lusafrica

Hailing from Conakry, Guinea and raised in Sierra Leone, Sia Tolno releases a hot new album full of Afro-jazz, highlife, pop, and funky, Yoruba-infused beats that will shake one's body with happy vibes and grooves. Some of the lyrics touch on serious social issues and incidents pervasive in African society, but Sia should be thanked for highlighting the plight. With vocals akin to Benin's Angelique Kidjo, African Woman contains beautiful vocals that are classic, jazzy, and heartfelt. The contemporary release is a pan-African journey into the soul of an artist with incredible vocal talent and musicianship. The twelve track release contains many great tracks that are all highly recommended. Anyone interested in female Afro-beat music with a soul and a good heart should check out Sia Tolno's latest release, African Woman. ~ Matthew Forss

CD Review: Boulpik's 'Konpa Lakay'

Boulpik
Konpa Lakay
Lusafrica

Boulpik is a Haitian group that resurrects the konpa musical style of the 1950's for a new generation. Konpa is a dance music that incorporates meringue music. This is not your typical meringue music; instead, Boulpik, which means "bullseye," produces a raw, organic, and country sound made from banjos, manoubas, and percussion with vocals. The mood of the music is very joyous and the instrumental arrangements are earthy and and enjoyable to say the least. This may have roots in folk music, but konpa, meringue, and Afro-Caribbean dance elements are the primary influence. The songs are in Haitian Creole and possess and strong nostalgic-tinged repertoire that blends perfectly with contemporary vocals. The tropical-infused, "Je Reviens Chez Nous," highlights the Canadian influence with a ballad not indigenous to Haiti. Overall, Boulpik hits the bullseye with Konpa Lakay. ~ Matthew Forss

CD Review: Sia Tolno's 'Mouka Mouka'

Sia Tolno
Mouka Mouka
Lusafrica

Based in Conakry, Guinea, Sia Tolno brings a powerful voice with African-backed jazz, rock, and pop infusions on Mouka Mouka. The rather short EP contains five tracks that are featured on her latest release, African Woman. Whether this is an extended single release or EP, the result is the same: great music that is worth repeated listens. The jazzy, Afro-pop concoction, "African Police," showcases Sia's Angelique Kidjo-esque vocalizations and arrangements. The uncanny similarity to Benin's Angelique Kidjo is one of amazement and pride. The music is upbeat and littered with local issues surrounding male power, mutilation, women's rights, education, peace, and dance. The entire album is produced by Tony Allen, so you know it's gonna be good. The music is giddy, funky, and melodiously memorable. Fans of African contemporary music will love it's lush melodies, rhythms, and groovy vocalizations. ~ Matthew Forss

2-CD Review: Black Bazar's 'Round 2'

Black Bazar
Round 2 [2-CD]
Lusafrica

Conceptualized by writer and producer, Alain Mabanckou in 2012, Alain incorporates guitar rhythms and melodies from Cape Verde, West Africa, and Central Africa. The upbeat songs are dance-laden and possess a wealth of instrumental ear candy. There are even Caribbean and Latin American influences, which are part of the larger African Diaspora. At any rate, Alan employs a host of guest musicians, including Ferre Gola, Soleil Wanga, Flamme Kapaya, Olivier Tshimanga, Roi David, Karashika, Wole Sentimenta, Ize Teixeira, and Tabou Combo. There are thirteen long tunes that are quite contemporary, highly-rhythmic, and purely African concoctions that are full of soul, love, and melody. Anyone familiar with giddy guitar ramblings from the heart of Africa will love it. Black Bazar includes a bonus CD that is a music video of the first album track, "Black Bazar Round 2." ~ Matthew Forss

CD Review: Guinea's Fode Baro Releases a "Mandingo Afro Zouk" 'La Verite'

Fode Baro
La Verite
Lusafrica

The Afro-pop stylings of Fode Baro stems from a combination of Afro-pop tunes and energetic zouk infuences. The rippling guitars are akin to Congolese constructions, but the compositions seem to exude the entire continent of Africa in song, voice, and instrument. La Verite is an eleven track release with catchy, stirring, and energetic tunes with a contemporary vein. This is not a dance or rap album. Instead, Fode explores various sounds and rhythms that create moving melodies from France, as well as his homeland of Guinea. There are lively synths, drums, electronic voicings, and brass sounds that create nothing but a happy response. The real highlights come from "Fago" and "Pourquoi Me Quitter." However, all of the songs are rousing and memorable. Fans of Afro-pop, Guinean contemporary music, and zouk-tinged music will love Fode Baro's latest release. ~ Matthew Forss

CD Review: Cape Verde's Neuza Releases 'Flor Di Bila'

Neuza
Flor Di Bila
Lusafrica

The music of Cape Verde is best-known with the late-Cesaria Evora, but young up-and-comers have graced stages worldwide, including Tete Alhinho, Fantcha, Lura, Mariana Ramos, and Carmen Souza. One need not ignore the sweet and beautiful voice of Neuza. The thirteen-track release represents an introspective examination of the island's rhythms and melodies, such as talaia baxo, samba, and rabolo. The breezy songs are filled with emotive sensibilities that come across quite well. The instrumental arrangements are provided by guitars, cavaquinhos, baixo, piano, gaita, orgao, sax, afuche, coros, and assorted percussion. Anyone seeking upbeat island songs in a contemporary format will love Neuza's new release. ~ Matthew Forss   

CD Review: Cesaria Evora's 'Mae Carinhosa'

Cesaria Evora
Mae Carinhosa
Lusafrica

Cape Verdean songstress and music pioneer, Cesaria Evora passed away in 2011. Producer, Jose da Silva, compiled an album of previously unreleased songs that showcase a music legend. The sweet and sincere songs draw upon emotive mornas and moving coladeras. The songs are mostly guitar-driven with some marimba, percussion, piano, and string accompaniment. There are thirteen tracks, including "Sentimento," "Quem Tem Odio," "Talvez," "Mae Carinhosa," and many others. Despite the tracks' absence on other recordings, the songs tend to form a cohesive and fluid mix from start to finish. There are tracks by Pedro Rodrigues, Teofilo Chantre, Frank Cavaquinho, Jon Luz, and others. Own the last piece of Cesaria Evora's musical legacy today. ~ Matthew Forss

CD Review: Ze Luis' 'Serenata'

Ze Luis
Serenata
Lusafrica



The Cape Verdean vocal and guitar songs of Ze Luis are predominantly breezy, relaxing, and soulful. There are guitars, percussion, and cavaquinho. The relatively few instruments do not detract from the vocal power of the songs. The fourteen songs represent a classy array of island rhythms and melodies that are far from being ho-hum. Serenata is Ze Luis' first album, but it is very mature with candid vocals and sincere songwriting. The arrangements are quite folksy, but a little classical influence is evident, too. Nevertheless, Serenata is a fun album with bright songs and moving melodies that capture the light and life of Cape Verdean society. Celebrate life with Ze Luis!

CD Review: Pierre Akendengue's 'Destinee'

Pierre Akendengue
Destinee
Lusafrica

Gabon-born, Pierre Akendengue, has been involved in music for several decades. Pierre studied in France, but returned to Gabon in the 1970s and 80s to continue music. After the landmark album, Nandipo (1974), Gabon music became known to all of Africa and beyond. On the current release, Destinee, Pierre continues in the traditions of popular Gabon music with an Afro-pop vein. The music contains a variety of bows, strings, guitars, drums, flutes, kalimba, balafon, bass, and horns that add some spicy flavor to the culturally-rich and diverse tracks. Pierre's vocals are accompanied by his daughter and a few other vocalists. The equatorial country is at the heart of the world and its musical influences are far-reaching. There are French, Latin, Brazilian, Cuban, and Afro-Caribbean similarities throughout. There are also heady guitar songs that are more indicative of soukous. At any rate, the giddy rhythms, fun vocals, and party-like songs are richly-textured and brimming with infectious Afro-pop grandeur. ~ Matthew Forss

CD Review: Nancy Vieira's 'No Ama'

Nancy Vieira
No Ama
Lusafrica

The swaying melodies and rhythms of Cape Verde are showcased on this new exciting release of Afro-Creole culture. Nancy is a vocalist and shares the spotlight with the cavaquinho, Portuguese guitar, piano, bass guitar, flute, violin, and electric guitar throughout. The music of Teofilo Chantre, B. Leza, Mario Lucio, Amandio Cabral, and others. The smooth and folk melodies capture the musical culture of the islands with some Portuguese, Brazilian, and African elements. Nancy's vocals bring to mind a young Cesaria Evora. As a fourth album for Nancy, No Ama hits the web-stores and store shelves with a fresh and renewed presence. The light music is accessible for anyone interested in Cape Verde music, or the music of Brazil, Portugal, France, and Africa. Lyrics provided in the liner notes. ~ Matthew Forss

CD Review: Bonga's 'Hora Kota'

Bonga
Hora Kota
Lusafrica

Angolan-born and raised, Bonga combines the sultry sounds of kizomba, semba, Portuguese folk, and contemporary pop with a gruff voice that is synonymous with Angolan society. Hora Kota, his latest release, continues the Portuguese-tinged compositions with a good dose of Latin jazz, island rhythms, and folk melodies that unite all Portuguese-speaking regions. The thirteen tracks contain the romantic accordion, guitars, percussion, dikanza, congas, bass, harmonica, shekere, double bass, ukulele, flute, bandoneon, and others. If you are a long-time fan or newbie to Angolan music, Bonga should be right at the top of any world music chart. Sample the hot rhythms and melodies shaking up Luanda and beyond. ~ Matthew Forss

CD Review: Black Bazar's 'Black Bazar'

Black Bazar
Black Bazar
Mabanckou

Modogo & Sam are Modogo Abarambwa and Sam Tshintu, respectively. As purveyors in the Congolese music scene, they attempt to bridge the gap between Cuban and Latin rhythms with the soukous sounds of Congo with their band, Black Bazar. The result is a musical project that sheds the drum machines and techno trance of contemporary society with a raw and spirited selection of songs with bass, piano, percussion, and guitars leading the way. Black Bazar shines with the rumba sounds of Havana and the sparkling, rhythm guitars of Kinshasha. Despite the album artwork looking like something from the TV show Mad Men, Black Bazar livens up any situation with vibrant colors of love and dance. The ten tracks represent nearly an hour of listening pleasure. Anyone with an interest in Cuban rhythms and central African music will cherish the vocal harmonies and bright instrumentation. This is a timeless recording. ~ Matthew Forss 

CD Review: Mounira Mitchala's 'Chili Houritki'

Mounira Mitchala
Chili Houritki
Lusafrica

As a follow-up to Talou Lena (Marabi, 2008), Chili Houritki, which means, "independence," is an album that builds upon the traditional roots and rhythms of Chad's great musical resources. "Choukrane" is a Sai tune, while the title track is composed in the Bilala ethnic style that celebrates African female independence. A host of other tracks highlight various beats and styles, including n'gandja, guissesse, kidi kotoko, meund, kidi gourane, klaguu, nielim, gourna toupouri, mbong, toumtoum, and gourna. The overall sound is upbeat, contemporary Afro-pop that is rarely heard beyond Chadian borders. The music incorporates guitars, bass, shakers, calabash, kora, udu drum, and assorted percussion throughout the twelve tracks. Pleasant melodies, backup vocals, and sparkling instrumentation driven by historical traditions even contain some ululations and hand-clapping. At any rate, Chili Houritki is a long-awaited sophomore release from Chad's Mounira Mitchala. ~ Matthew Forss

CD Review: Sia Tolno's 'My Life'

Sia Tolno
My Life
Lusafrica

Sia's Guinean and Sierre Leone roots are eloquently conveyed on her latest release, My Life. Sia combines scintillating rhythms and melodies reflecting the musical cultures of West Africa, Latin America, and European folk/rock. There are elements of dance, funk, and jazz throughout. Sia's voice is very reminiscent of Benin's Angelique Kidjo. In the same manner, fans of Angelique's work should like Sia's commanding voice and creative energy. Twelve tracks reflect a good mix of musical rhythms and instruments, including the iconic balafon pervasive throughout West Africa. My Life is an excellent album showcasing Sia's musical and ethnic heritage without resorting to mindless riffs, dull beats, or unimaginative sound structures. In short, Sia is a musical genius that deserves recognition the world over. ~ Matthew Forss

CD Review: Algeria's Hasna el Becharia

Hasna el Becharia

Smaa Smaa (Listen Listen)

Lusafrica

The follow-up to the incredible 2001 album, Djazair Johara, Smaa Smaa, which means "listen listen" is an album born out of an innate connection with the Saharan desert. The result is a slightly more intimate and mature mold than the previous album. Algerian-born, Hasna, primarily plays the three-stringed guimbri instrument on both albums. The guimbri is an iconic instrument in Gnawa trance music. The guimbri's subdued lute tunings are played without frets, but metal rings are often added for a different, metallic sound with each strum of the fingers. The songs are sung in Arabic by Hasna, with instrumental accompaniment on the violin, darbuka, guitar, and bass. Hasna is accompanied by a few back-up singers on several tracks. Overall, Hasna has created yet another beautiful album of music from the sands of North Africa. The colorful digipack artwork and liner notes are in French and Arabic. ~ Matthew Forss